| Medium | : | Tempera |
|---|---|---|
| Height | : | 13.25 inch / 33.7 cm |
| Width | : | 18.75 inch / 47.6 cm |
| Dimension | : | W: 47.6 cm × H: 33.7 cm |
This artwork by Jamini Roy, executed in tempera on board, beautifully illustrates the mythological scene of Krishna subduing Kaliya. With bold outlines, flat colors, and folk-inspired stylization, the painting embodies Roy’s signature aesthetic of merging modernism with traditional Indian visual language. A timeless piece that captures divinity and folk vibrancy in perfect harmony.
Jamini Roy | Untitled | Tempera on Board | 13.25 x 18.75 inches | Circa
Jamini Roy’s Shri Krishna Sheshnag is a remarkable example of his ability to merge folk traditions with modernist aesthetics, celebrating India’s rich mythological heritage through a uniquely stylized approach. The painting features Krishna, rendered in bold, simplified lines with a striking green complexion, embodying his divine and ethereal presence. The figure’s posture, with one arm gracefully raised, conveys serenity and celestial authority, while the flowing garment enhances the rhythmic movement of the composition.
By incorporating themes from Hindu mythology, Roy ensured that his work remained deeply relevant in Indian modernism. His legacy continues to influence contemporary visual culture, proving the enduring power of indigenous aesthetics in shaping India’s artistic identity. His ability to bridge mythology and modern expression ensures his legacy remains pivotal, inspiring generations to explore native aesthetics with renewed vision and creativity
One of india’s most loved artists, Jamini Roy is remembered for forging a unique indian aesthetic for modern art by bringing together elements of traditional bengali folk art and kalighat patachitras, rendered in clean lines and earthy colours.
Born on 11 April 1887 in a landowning family in Bankura district of Bengal, Roy trained in European academic-realist painting at the Government College of Arts and Crafts, Calcutta, and began his career painting landscapes and portraits.
Soon, moving away from these, he started experimenting with a more indigenous visual vocabulary. Level surfaces, flattening of design in depth, and the use of dissonant primary colours were aspects of folk painting that Roy incorporated in his work. Also, he took up the volumetric forms of the Kalighat patachitras. However, unlike the spontaneous brushwork of the traditional patuas, Roy’s lines were more restrained and precisely delineated.
Roy would paint several versions of a subject, breaking and reforming the theme over months. Turning his family into a production unit, he tried to emulate a craft-guild mode of artistic production. He painted on a wide range of themes—common people, mythological tales, Christian iconography, as well as visual characteristics of home-sewn Bengal quilts and Byzantine icons.
Roy was awarded the Viceroy’s gold medal in 1935, the Padma Bhushan in 1955, and elected a fellow of the Lalit Kala Akademi in 1956. Declared a National Treasure artist in 1976, his works cannot be exported. He passed away on 24 April 1972.
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